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86 Cards in this Set
- Front
- Back
Linear Perspective |
mathematically based system for projecting the apparent dimensions of a three dimensional object onto a two dimensional surface called a picture plane |
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Horizon Line |
The line on which all vanishing points are positioned, also called eye level or eye line |
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Vanishing Point |
The point or points on the eye level at which parallel lines appear to converge |
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Five basic concepts of Linear Perspective |
1. Objects diminish in size as they recede into the distance 2. Horizon line 3. Vanishing line 4. A fixed viewing position is essential because all proportional relationships shift with a change in position 5. Only a limited area is clearly visible from a fixed position, to see more, you must step away |
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One point perspective |
lines recede into one vanishing point |
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Two point perspective |
lines recede into two points of the horizon line |
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Three point perspective |
lines recede into two points on the horizon line, and then one other point above or below the horizon line |
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Representational Art |
Artist's intention to represent a particular subject |
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Non Representational Art |
Art without reference to anything outside of itself |
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Abstract Art |
Art that departs significantly from natural appearances |
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Form |
The total effect of the combined visual qualities within a work, including such components as materials, color, shape, line, and design |
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Subject |
The person, object, event, or idea on which an artwork is based |
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Content |
The meaning or message contained and communicated by a work of art |
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Objective criticism |
Assesses how well a work of art utilizes the elements and principles of |
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Subjective criticism |
Describes the personal impact of an idea, the narrative implications of the idea, or cultural ramifications of an action |
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Iconography |
Symbolic meaning of subjects used to convey ideas important to particular cultures or religions and the conventions governing the use of such forms"Describing Images" |
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Stereotype |
Fixed generalization based on perception |
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Cliches |
overused expression or a predictable treatment of an idea |
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Analogy |
similarity or connection between things that are apparently separate and dissimilar |
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Metaphor |
figure of speech in which one thing is directly linked to another dissimilar thing. The original word is given the qualities of the linked word |
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Metaphorical Thinking |
The use of metaphors or analogies to create visual or verbal bridges |
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Visual Metaphor |
Images that are visually similar in form but dissimilar as nameable objects |
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Design |
Both the process of organizing visual elements and the product of that process |
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Principles of Design |
1. Unity and Variety 2. Balance 3. Symmetry 4. Emphasis |
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Unity |
appearance of similarity or consistency. Inter-relational factors that cause various elements to appear as part of a single complete form |
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Variety |
Not always the same, change, difference. Variety acts as a counter-balance to unity |
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Grouping (G) |
Visual organization based on similarity in location, orientation, color etc |
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Containment (G) |
Relationships that automatically occur when visual elements share a common container |
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Repetition (G) |
use of the same visual element or effect a number of times in the same composition |
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Pattern |
design created through systematic repetition |
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Grid |
visual or physical structure created from intersecting parallel lines |
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Proximity (G) |
distance between visual elements |
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Fusion |
when shapes or volumes are placed so close together that they share a common edge |
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Continuity (G) |
state of being continuous, creates a fluid connection among compositional parts |
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Closure (G) |
minds inclination to connect fragmentary information in order to create a completed form |
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Balance |
equilibrium among interacting and or opposing forces in a visual composition |
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Symmetrical Balance |
shapes are mirrored on either side of axis |
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Asymmetrical balance |
equilibrium between elements that differ in size, number, weight, color and texture |
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Radial symmetry |
balance created when design elements extend out from a central focal point |
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Visual Weight |
inclination of shapes to float or sink based on their solidity and compositional location |
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Scale |
size or apparent size of an object seen in relation to other objects, people or its environment. We experience scale in relation to our own size |
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Three types of scale |
1. small scale 2. Human scale 3. Monumental scale |
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Proportion |
size relationship of parts to a whole and to one another |
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Emphasis |
special attention given to some aspect of a composition to increase it prominence |
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Focal Point |
primary point of interest in a composition |
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Isolation |
any anomaly, or break from the norm tends to stand out |
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Placement |
Where visual elements are in relation to the format and to each other |
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Contrast |
The juxtaposition of strongly dissimilar elements |
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Format |
The shape or proportions of a picture plane |
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Composition |
the combining parts or elements to form a whole; structure, organization, or total form of the work of art |
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Line |
a linear form in which length dominates over width |
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Orientation |
refers to the line's horizontal, vertical or diagonal position |
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Direction |
implied movement of a line |
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Continuity |
linear flow, can enhance or reduce direction |
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Shape |
two dimensional area defined by line changes in value and/or color |
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Ground or negative shape |
background in two dimensional works. The area around and or between figures |
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Figure or Positive shape |
separate shapes distinguishable from a background or ground |
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Mass |
Three dimensional form having physical bulk |
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Implied Mass |
Representation of a three dimensional form having physical bulk on a two dimensional surface |
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Volume |
Space enclosed or filled by a three dimensional object |
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Implied volume |
in two dimensional design, a three dimensional form that has been represented using the illusion of space |
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Space |
indefinable general receptacle of all things, seemingly empty space around us |
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Overlap |
Occurs when one object obscures another from view |
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Size variation |
Larger to smaller objects gives the appearance that the smaller is farther away. Also called diminishing size |
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Vertical location |
visual elements placed near the top tend to recede, while shaped placed at the bottom tend to advance. Sometimes called Vertical placement |
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Definition |
degree of resolution or focus of an entire image. Blurred images generally recede |
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Texture |
tactile quality of surfaces |
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Actual texture |
texture we can feel |
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Visual or implied texture |
surface treatment that stimulates an actual physical texture, any covering of a surface with multiple marks |
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Color |
color that appears to the eye as that of the object it is being reflected off of |
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Hue |
that property of a color identifying a specific named wavelength of light |
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Achromatic |
without the property of color |
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Intensity |
the relative purity or saturation of a hue |
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Value |
the relative lightness or darkness of tones or colors |
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Shade |
hue with black added |
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Tone |
hue with gray added |
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Tint |
hue with white added |
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Primary colors |
Blue, Yellow, Red |
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Secondary Colors |
orange violet and green |
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Tertiary colors |
colors in-between the primary and secondary colors |
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Temperatures |
the physical and psychological heat generated by a color |
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Light |
form of radiant energy that acts upon the retina of the eye, making it possible to see |
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Chiaroscuro |
italian word meaning "light-Dark" gradations of light and dark values in two dimensional imagery |
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Time |
non-spatial continuum in which events occur in succession |
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Actual time |
the location duration of event |
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Implied time |
the suggested location and duration of an event |